印象主义

基本解释 (translations)

impressionism

与印象主义相关的网络例句 [注：此内容来源于网络，仅供参考]

"Symbolism, impressionism, surrealism, theatricalism, expressionism, and absurdism are used to express aspects of the sensibility."

为表现这种情感的各个方面，人们采用象征主义，印象主义，超现实主义，夸张派，表现主义和荒诞派的手法。

"Symbolism, impressionism, surrealism, theatricalism, express ionism, and absurdism are used to express aspects of the sensibility."

为表现这种情感的各个方面，人们采用象征主义，印象主义，超现实主义，夸张派，表现主义和荒诞派的手法。

Like modern art psychologist Rudolf Arnheim said:"Impressionist painters demands made by all, that is a true record of those in a specific time and specific location of perceived color of the smallest units."

犹如现代艺术心理学家鲁道夫·阿恩海姆所说："印象主义派要求画家们所做的一切，就是真实地记录下那些于特定时刻和特定地点知觉到的最小色彩单位。"

The exhibition also features works by some of the most popular French Impressionists, including Eug ne Boudin who is the subject of a VMFA exhibition to be on view from Nov.

卡勒波特大约在1885年创作的《盛开的苹果树》显示了在最革命时期的印象主义强烈的红与绿的交织和碰撞。

Therefore Dai Shenghong's painting language has no predefined metaphors. Her direct narration transforms meaningful realistic scenario into simple image patterns "awkwardly" presented on the canvas. The painting style also goes hand in hand with the subject. In the reverberant sounds achieved by the rich and greasy black color, and forceful clumsy strokes by scrapers and brushes, these simple graphic elements break loose from academic style, and the early post-impressionism represented by Van Gogh and Gauguin vaguely emerges from behind.

因而，代生红的图像语言没有隐喻的"设定"，其通过直叙，将触动自身生活的现实情景转化为朴拙的图式，表露于画布，而其画风更是与主题相得益彰，在稚拙有力的刮刀、笔触与腻黑、饱满的色彩融合下，这些质朴的绘图语素，竟游离出了所谓学院的手法和派头，隐约浮现出早期后印象主义如梵高与高更的格调。

Impressionism is a new artistic style that arose Paris , Europe culture center, in the late 19th century.

印象主义音乐的形成及其特征印象主义是 19世纪末在巴黎萌生的一种新艺术风格。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

The essay tries to probe into internal source of the appearance and development of the movement of Impressionism by analyse the artistical features of traditional painting and analysing the artistical features of Impressionism, Neo-impressionism and Post-impressionism ,to show how the impressionism has developed step by step from the traditional descriptive art whose feature is to emphasizing the natural characteristic of art and the feeling of artist, and to realize that the stage which comes from tradition to morden in history of art never be overlooked.

本文试图通过分析传统绘画的艺术特色，探寻印象主义运动产生及其发展的内在根源；通过分析印象派、新印象派和后印象派的艺术特色来展示印象主义如何从以再现客观世界为特点的传统写实绘画逐步发展到具有现代特征的注重绘画本体特性和艺术家个体主观感受的这一转变过程，从而重新认识印象主义这样一个由传统走向现代的艺术史上不可或缺的一段历史。

Then we should re-explain art.

文章把现代主义艺术的抽象化进程作为第一部分：印象主义的崛起，后印象主义，现代主义的发展，这是一个艺术逐渐抽象的过程；杜尚以后的艺术作为第二部分：杜尚与达达主义，超现实主义，装置与新达达主义，波普艺术，从极少艺术到观念艺术，新具象艺术，这是一个以具象形式对抽象主义的反拨。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

与印象主义相关的网络解释 [注：此内容来源于网络，仅供参考]

Anti- impressionism：反印象主义

Nationalism in music 民族乐派 | Anti- impressionism 反印象主义 | Realism 现实主义

illusionism：印象主义

希腊文化 hellenistic | 印象主义 illusionism | 工艺美术 industrial arts

impressionism：印象主义

[关於印象派] 印象主义(Impressionism)一词,起源於1874年,当莫内(Claude Monet,1840~1926)展出他的画作「日出」时,一个略带讽刺性的评论称其作品为印象主义.

impressionism：印象主义流派

LATE ROMANTICISM 浪漫主义后期 | IMPRESSIONISM 印象主义流派 | EXPRESSIONISM 表现主义流派

abstract impressionism：抽象印象主义

(注1)印象画派画家莫内晚年处半失明状态,为弥补其视力寻求取代之绘形法(Pictorial)藉各种颜料构成纵错复杂之画面,史称抽象印象主义( Abstract Impressionism).

The Impressionist Music：印象主义音乐

European National Music 欧洲民族乐派 | The Impressionist Music 印象主义音乐 | Modern Music 现代音乐

impressionistic：印象主义的,印象主义者的

impressionist 印象主义者 | impressionistic 印象主义的,印象主义者的 | key novel 隐名小说

impressionistic：印象主义的 (形)

impressionist 印象主义者; 印象派作家 (名) | impressionistic 印象主义的 (形) | impressive 给人深刻印象的, 感人的 (形)

impressionistic criticism：[印象主义批评]

[意识流]stream of consciousness | [印象主义批评]impressionistic criticism | [因材施教]individualized method of instruction; case by case

neoimpressionism：新印象主义

莫迪里阿尼的作品受新印象主义(Neoimpressionism)、立体主义(Cubism)和原始艺术的影响. 新印象主义是印象主义理论与实践的发展,他们用光学(optics)科学的试验原理来指导艺术实践,表现纯客观的对象. Cubism一词来源于cube(立方体).